Ennio Morricone: in his own words
Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission,...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Oxford University Press
2019
|
| Schlagworte: | |
| Zusammenfassung: | Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission, Cinema Paradiso and more recently, The Hateful Eight, Morricone has spent the past 60 years reinventing the sound of cinema. In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski and Tarantino. In the process, Morricone unveils the curious relationship that links music and images in cinema, as well as the creative urgency at the foundation of his experimentations with "absolute music". Throughout these conversations with De Rosa, Morricone dispenses invaluable insights not only on composing but also on the broader process of adaptation and what it means to be human. As he reminds us, "Coming into contact with memories doesn't only entail the melancholy of something that slips away with time, but also looking forward, understanding who I am now. And who knows what else may still happen." (Klappentext) Ennio Morricone graduated in trumpet and composition from the Conservatorio di Santa Cecilia in Rome. Throughout his career, he mastered a wide range of musical expressions, first as an orchestrator and conductor in the recording industry, then as a composer for theater, radio, television, and cinema. He has composed over four hundred and fifty film scores and over a hundred absolute music works. He received an Academy Honorary Award in 2007 and won an Academy Award for Best Original Score in 2016, for The Hateful Eight by Quentin Tarantino. - Alessandro De Rosa undertook his study of music composition following Ennio Morricone's advice. He studied with Boris Porena in Rome and then graduated from the Royal Conservatoire in The Hague, Netherlands. As a composer and arranger, he collaborated with Jon Anderson of the band Yes. He currently works as a freelance musician and collaborates with the RAI (Radiotelevisione Italiana) and the RSI (Radiotelevisione Svizzera di lingua italiana). |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXII, 341 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9780190681012 |
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| 245 | 1 | 0 | |a Ennio Morricone |b in his own words |c Ennio Morricone in conversation with Alessandro De Rosa ; translated from the Italian by Maurizio Corbella |
| 264 | 1 | |a New York, NY |b Oxford University Press |c 2019 | |
| 300 | |a XXII, 341 Seiten |b Illustrationen, Notenbeispiele | ||
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| 505 | 8 | |a Cover; Ennio Morricone; Copyright; Dedication; Contents; List of Musical Examples; Note on Sources; Translator's Note; Preface; Introduction: Where These Conversations Come from; Chapter 1. A Pact Made with Mephisto: Over a Game of Chess; Chapter 2. A Composer Lent to Cinema; On Arranging; The Beginnings in Cinema; Paying My Dues; Luciano Salce; Sergio Leone and The Dollar Trilogy; A Fistful of Dollars: Myth and Reality; For a Few Dollars More; The Good, the Bad and the Ugly; Pier Paolo Pasolini; The Hawks and the Sparrows and a Strange Poem; Teorema and an Unrealized Story | |
| 505 | 8 | |a Surrendering to PasoliniCollaborations, Experiments, and Professional Consolidation; Pontecorvo, De Seta, Bellocchio; Bolognini, Montaldo; Wertmüller, Bertolucci; Consensus or Consumption? 1968 and Once Upon a Time in the West; Duck, You Sucker; Elio Petri; Sergio the Producer; Once Upon a Time in America; The "Leningrad Project" and Leone's Death; Chapter 3. Music and Images; Reflections and Memories of a Film Music Composer; No Theme? More Fun!; Giuseppe Tornatore; Singers and Songs in Film: On Music's Adaptability; Quentin Tarantino; Temporality and the "EST" Principle | |
| 505 | 8 | |a Backward Path to the Beginnings in HollywoodThe Academy Honorary Award; The Beginnings in US Cinema; A House in the United States?; US Composers; Terrence Malick; The Interpreter Didn't Help with John Carpenter; Creativity and Constraints: The Double Aesthetics; On Theater, the Musical, and Television; The Betrothed; Moses, the Lawgiver; Marco Polo; Secret of the Sahara; The Octopus; Pains and Experiments; Roberto Faenza; Nino Rota; Difficult Relationships; Joanou, Stone, and the Overtones; Warren Beatty; Pride and Repentance; Fights and Arguments; Beyond Cinema, Beyond Music | |
| 505 | 8 | |a Chapter 4. Mystery and CraftsmanshipThe Mystery of Creation; What Is Music?; Birth, Death, and Resurrection of Music; In Search of Myself: How to Listen to Contemporary Music; My Way; A Dilated Present; Studying Music Today?; A Sophisticated Balance between the Predictable and the Unforeseeable; Digressions; Cinema's Transformations; Timbre, Sound, and Performers; On Teaching; High Productivity? A Healthy Mind in a Healthy Body; Chapter 5. An Absolute Music?; The Roots; A Short Introduction to the "Absolute"; Darmstadt: A Summer of Experiments; Gruppo d'Improvvisazione Nuova Consonanza | |
| 505 | 8 | |a A Response to the Conflict of Times: Toward "Dynamic Immobility"Suoni per Dino; Vidi Aquam. Id Est Benacum; Musical Creationism versus Musical Evolutionism; Gestazione; Beliefs: The Origins of Life and the Universe; Mystical Production; Missa Papae Francisci; The Ideal of Unity: Blend and Hope; The Mission; Voci dal silenzio and La voce dei sommersi; Cantata per l'Europa and a Poem for Maria; Exchanges, Form, and Linguistic Combinations; UT; The Four Concertos: Form and Non-form; The Future of Music: Noise and Silence; Chapter 6. Looking Ahead: A Silent Nod toward the Future | |
| 520 | |a Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission, Cinema Paradiso and more recently, The Hateful Eight, Morricone has spent the past 60 years reinventing the sound of cinema. In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski and Tarantino. In the process, Morricone unveils the curious relationship that links music and images in cinema, as well as the creative urgency at the foundation of his experimentations with "absolute music". Throughout these conversations with De Rosa, Morricone dispenses invaluable insights not only on composing but also on the broader process of adaptation and what it means to be human. As he reminds us, "Coming into contact with memories doesn't only entail the melancholy of something that slips away with time, but also looking forward, understanding who I am now. And who knows what else may still happen." (Klappentext) | ||
| 520 | |a Ennio Morricone graduated in trumpet and composition from the Conservatorio di Santa Cecilia in Rome. Throughout his career, he mastered a wide range of musical expressions, first as an orchestrator and conductor in the recording industry, then as a composer for theater, radio, television, and cinema. He has composed over four hundred and fifty film scores and over a hundred absolute music works. He received an Academy Honorary Award in 2007 and won an Academy Award for Best Original Score in 2016, for The Hateful Eight by Quentin Tarantino. - Alessandro De Rosa undertook his study of music composition following Ennio Morricone's advice. He studied with Boris Porena in Rome and then graduated from the Royal Conservatoire in The Hague, Netherlands. As a composer and arranger, he collaborated with Jon Anderson of the band Yes. He currently works as a freelance musician and collaborates with the RAI (Radiotelevisione Italiana) and the RSI (Radiotelevisione Svizzera di lingua italiana). | ||
| 600 | 1 | 4 | |a Morricone, Ennio |v Interviews |
| 600 | 1 | 7 | |a Morricone, Ennio |d 1928-2020 |0 (DE-588)119011328 |2 gnd |9 rswk-swf |
| 650 | 4 | |a Composers |z Italy |v Interviews | |
| 650 | 4 | |a Film composers |z Italy |v Interviews | |
| 650 | 4 | |a Motion picture music |x History and criticism | |
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Datensatz im Suchindex
| _version_ | 1811004320990101504 |
|---|---|
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| any_adam_object | |
| author2 | De Rosa, Alessandro 1985- Corbella, Maurizio 1980- |
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| author2_variant | r a d ra rad m c mc |
| author_GND | (DE-588)119011328 (DE-588)1111061556 (DE-588)1187167916 |
| author_facet | De Rosa, Alessandro 1985- Corbella, Maurizio 1980- |
| building | Verbundindex |
| bvnumber | BV045509925 |
| callnumber-first | M - Music |
| callnumber-label | ML410 |
| callnumber-raw | ML410.M79 |
| callnumber-search | ML410.M79 |
| callnumber-sort | ML 3410 M79 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | LR 53509 LP 95900 |
| contents | Cover; Ennio Morricone; Copyright; Dedication; Contents; List of Musical Examples; Note on Sources; Translator's Note; Preface; Introduction: Where These Conversations Come from; Chapter 1. A Pact Made with Mephisto: Over a Game of Chess; Chapter 2. A Composer Lent to Cinema; On Arranging; The Beginnings in Cinema; Paying My Dues; Luciano Salce; Sergio Leone and The Dollar Trilogy; A Fistful of Dollars: Myth and Reality; For a Few Dollars More; The Good, the Bad and the Ugly; Pier Paolo Pasolini; The Hawks and the Sparrows and a Strange Poem; Teorema and an Unrealized Story Surrendering to PasoliniCollaborations, Experiments, and Professional Consolidation; Pontecorvo, De Seta, Bellocchio; Bolognini, Montaldo; Wertmüller, Bertolucci; Consensus or Consumption? 1968 and Once Upon a Time in the West; Duck, You Sucker; Elio Petri; Sergio the Producer; Once Upon a Time in America; The "Leningrad Project" and Leone's Death; Chapter 3. Music and Images; Reflections and Memories of a Film Music Composer; No Theme? More Fun!; Giuseppe Tornatore; Singers and Songs in Film: On Music's Adaptability; Quentin Tarantino; Temporality and the "EST" Principle Backward Path to the Beginnings in HollywoodThe Academy Honorary Award; The Beginnings in US Cinema; A House in the United States?; US Composers; Terrence Malick; The Interpreter Didn't Help with John Carpenter; Creativity and Constraints: The Double Aesthetics; On Theater, the Musical, and Television; The Betrothed; Moses, the Lawgiver; Marco Polo; Secret of the Sahara; The Octopus; Pains and Experiments; Roberto Faenza; Nino Rota; Difficult Relationships; Joanou, Stone, and the Overtones; Warren Beatty; Pride and Repentance; Fights and Arguments; Beyond Cinema, Beyond Music Chapter 4. Mystery and CraftsmanshipThe Mystery of Creation; What Is Music?; Birth, Death, and Resurrection of Music; In Search of Myself: How to Listen to Contemporary Music; My Way; A Dilated Present; Studying Music Today?; A Sophisticated Balance between the Predictable and the Unforeseeable; Digressions; Cinema's Transformations; Timbre, Sound, and Performers; On Teaching; High Productivity? A Healthy Mind in a Healthy Body; Chapter 5. An Absolute Music?; The Roots; A Short Introduction to the "Absolute"; Darmstadt: A Summer of Experiments; Gruppo d'Improvvisazione Nuova Consonanza A Response to the Conflict of Times: Toward "Dynamic Immobility"Suoni per Dino; Vidi Aquam. Id Est Benacum; Musical Creationism versus Musical Evolutionism; Gestazione; Beliefs: The Origins of Life and the Universe; Mystical Production; Missa Papae Francisci; The Ideal of Unity: Blend and Hope; The Mission; Voci dal silenzio and La voce dei sommersi; Cantata per l'Europa and a Poem for Maria; Exchanges, Form, and Linguistic Combinations; UT; The Four Concertos: Form and Non-form; The Future of Music: Noise and Silence; Chapter 6. Looking Ahead: A Silent Nod toward the Future |
| ctrlnum | (OCoLC)1109089334 (DE-599)BVBBV045509925 |
| dewey-full | 781.5/42092 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.5/42092 |
| dewey-search | 781.5/42092 |
| dewey-sort | 3781.5 542092 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| format | Book |
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In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski and Tarantino. 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| genre | (DE-588)4027503-6 Interview gnd-content |
| genre_facet | Interview |
| id | DE-604.BV045509925 |
| illustrated | Illustrated |
| indexdate | 2024-09-23T16:18:26Z |
| institution | BVB |
| isbn | 9780190681012 |
| language | English |
| lccn | 018030334 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030894451 |
| oclc_num | 1109089334 |
| open_access_boolean | |
| owner | DE-12 DE-703 DE-19 DE-BY-UBM DE-11 DE-M472 |
| owner_facet | DE-12 DE-703 DE-19 DE-BY-UBM DE-11 DE-M472 |
| physical | XXII, 341 Seiten Illustrationen, Notenbeispiele |
| psigel | BSB_NED_20190722 |
| publishDate | 2019 |
| publishDateSearch | 2019 |
| publishDateSort | 2019 |
| publisher | Oxford University Press |
| record_format | marc |
| spelling | Morricone, Ennio 1928-2020 (DE-588)119011328 ive Inseguendo quel suono (2016) Ennio Morricone in his own words Ennio Morricone in conversation with Alessandro De Rosa ; translated from the Italian by Maurizio Corbella New York, NY Oxford University Press 2019 XXII, 341 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Cover; Ennio Morricone; Copyright; Dedication; Contents; List of Musical Examples; Note on Sources; Translator's Note; Preface; Introduction: Where These Conversations Come from; Chapter 1. A Pact Made with Mephisto: Over a Game of Chess; Chapter 2. A Composer Lent to Cinema; On Arranging; The Beginnings in Cinema; Paying My Dues; Luciano Salce; Sergio Leone and The Dollar Trilogy; A Fistful of Dollars: Myth and Reality; For a Few Dollars More; The Good, the Bad and the Ugly; Pier Paolo Pasolini; The Hawks and the Sparrows and a Strange Poem; Teorema and an Unrealized Story Surrendering to PasoliniCollaborations, Experiments, and Professional Consolidation; Pontecorvo, De Seta, Bellocchio; Bolognini, Montaldo; Wertmüller, Bertolucci; Consensus or Consumption? 1968 and Once Upon a Time in the West; Duck, You Sucker; Elio Petri; Sergio the Producer; Once Upon a Time in America; The "Leningrad Project" and Leone's Death; Chapter 3. Music and Images; Reflections and Memories of a Film Music Composer; No Theme? More Fun!; Giuseppe Tornatore; Singers and Songs in Film: On Music's Adaptability; Quentin Tarantino; Temporality and the "EST" Principle Backward Path to the Beginnings in HollywoodThe Academy Honorary Award; The Beginnings in US Cinema; A House in the United States?; US Composers; Terrence Malick; The Interpreter Didn't Help with John Carpenter; Creativity and Constraints: The Double Aesthetics; On Theater, the Musical, and Television; The Betrothed; Moses, the Lawgiver; Marco Polo; Secret of the Sahara; The Octopus; Pains and Experiments; Roberto Faenza; Nino Rota; Difficult Relationships; Joanou, Stone, and the Overtones; Warren Beatty; Pride and Repentance; Fights and Arguments; Beyond Cinema, Beyond Music Chapter 4. Mystery and CraftsmanshipThe Mystery of Creation; What Is Music?; Birth, Death, and Resurrection of Music; In Search of Myself: How to Listen to Contemporary Music; My Way; A Dilated Present; Studying Music Today?; A Sophisticated Balance between the Predictable and the Unforeseeable; Digressions; Cinema's Transformations; Timbre, Sound, and Performers; On Teaching; High Productivity? A Healthy Mind in a Healthy Body; Chapter 5. An Absolute Music?; The Roots; A Short Introduction to the "Absolute"; Darmstadt: A Summer of Experiments; Gruppo d'Improvvisazione Nuova Consonanza A Response to the Conflict of Times: Toward "Dynamic Immobility"Suoni per Dino; Vidi Aquam. Id Est Benacum; Musical Creationism versus Musical Evolutionism; Gestazione; Beliefs: The Origins of Life and the Universe; Mystical Production; Missa Papae Francisci; The Ideal of Unity: Blend and Hope; The Mission; Voci dal silenzio and La voce dei sommersi; Cantata per l'Europa and a Poem for Maria; Exchanges, Form, and Linguistic Combinations; UT; The Four Concertos: Form and Non-form; The Future of Music: Noise and Silence; Chapter 6. Looking Ahead: A Silent Nod toward the Future Master composer Ennio Morricone's scores go hand-in-hand with the idea of the Western film. Often considered the world's greatest living film composer, and most widely known for his innovative scores to The Good, the Bad, and the Ugly and the other Sergio Leone's movies, The Mission, Cinema Paradiso and more recently, The Hateful Eight, Morricone has spent the past 60 years reinventing the sound of cinema. In Ennio Morricone: In His Own Words, composers Ennio Morricone and Alessandro De Rosa present a years-long discussion of life, music, and the marvelous and unpredictable ways that the two come into contact with and influence each other. The result is what Morricone himself defines: "beyond a shadow of a doubt the best book ever written about me, the most authentic, the most detailed and well curated. The truest." Opening for the first time the door of his creative laboratory, Morricone offers an exhaustive and rich account of his life, from his early years of study to genre-defining collaborations with the most important Italian and international directors, including Leone, Bertolucci, Pasolini, Argento, Tornatore, Malick, Carpenter, Stone, Nichols, De Palma, Beatty, Levinson, Almodóvar, Polanski and Tarantino. In the process, Morricone unveils the curious relationship that links music and images in cinema, as well as the creative urgency at the foundation of his experimentations with "absolute music". Throughout these conversations with De Rosa, Morricone dispenses invaluable insights not only on composing but also on the broader process of adaptation and what it means to be human. As he reminds us, "Coming into contact with memories doesn't only entail the melancholy of something that slips away with time, but also looking forward, understanding who I am now. And who knows what else may still happen." (Klappentext) Ennio Morricone graduated in trumpet and composition from the Conservatorio di Santa Cecilia in Rome. Throughout his career, he mastered a wide range of musical expressions, first as an orchestrator and conductor in the recording industry, then as a composer for theater, radio, television, and cinema. He has composed over four hundred and fifty film scores and over a hundred absolute music works. He received an Academy Honorary Award in 2007 and won an Academy Award for Best Original Score in 2016, for The Hateful Eight by Quentin Tarantino. - Alessandro De Rosa undertook his study of music composition following Ennio Morricone's advice. He studied with Boris Porena in Rome and then graduated from the Royal Conservatoire in The Hague, Netherlands. As a composer and arranger, he collaborated with Jon Anderson of the band Yes. He currently works as a freelance musician and collaborates with the RAI (Radiotelevisione Italiana) and the RSI (Radiotelevisione Svizzera di lingua italiana). Morricone, Ennio Interviews Morricone, Ennio 1928-2020 (DE-588)119011328 gnd rswk-swf Composers Italy Interviews Film composers Italy Interviews Motion picture music History and criticism Filmmusik (DE-588)4017129-2 gnd rswk-swf Musikanschauung (DE-588)4170810-6 gnd rswk-swf (DE-588)4027503-6 Interview gnd-content Morricone, Ennio 1928-2020 (DE-588)119011328 p Filmmusik (DE-588)4017129-2 s Musikanschauung (DE-588)4170810-6 s DE-604 De Rosa, Alessandro 1985- (DE-588)1111061556 ivr Corbella, Maurizio 1980- (DE-588)1187167916 trl Erscheint auch als Online-Ausgabe, EPUB 978-0-19-068103-6 |
| spellingShingle | Ennio Morricone in his own words Cover; Ennio Morricone; Copyright; Dedication; Contents; List of Musical Examples; Note on Sources; Translator's Note; Preface; Introduction: Where These Conversations Come from; Chapter 1. A Pact Made with Mephisto: Over a Game of Chess; Chapter 2. A Composer Lent to Cinema; On Arranging; The Beginnings in Cinema; Paying My Dues; Luciano Salce; Sergio Leone and The Dollar Trilogy; A Fistful of Dollars: Myth and Reality; For a Few Dollars More; The Good, the Bad and the Ugly; Pier Paolo Pasolini; The Hawks and the Sparrows and a Strange Poem; Teorema and an Unrealized Story Surrendering to PasoliniCollaborations, Experiments, and Professional Consolidation; Pontecorvo, De Seta, Bellocchio; Bolognini, Montaldo; Wertmüller, Bertolucci; Consensus or Consumption? 1968 and Once Upon a Time in the West; Duck, You Sucker; Elio Petri; Sergio the Producer; Once Upon a Time in America; The "Leningrad Project" and Leone's Death; Chapter 3. Music and Images; Reflections and Memories of a Film Music Composer; No Theme? More Fun!; Giuseppe Tornatore; Singers and Songs in Film: On Music's Adaptability; Quentin Tarantino; Temporality and the "EST" Principle Backward Path to the Beginnings in HollywoodThe Academy Honorary Award; The Beginnings in US Cinema; A House in the United States?; US Composers; Terrence Malick; The Interpreter Didn't Help with John Carpenter; Creativity and Constraints: The Double Aesthetics; On Theater, the Musical, and Television; The Betrothed; Moses, the Lawgiver; Marco Polo; Secret of the Sahara; The Octopus; Pains and Experiments; Roberto Faenza; Nino Rota; Difficult Relationships; Joanou, Stone, and the Overtones; Warren Beatty; Pride and Repentance; Fights and Arguments; Beyond Cinema, Beyond Music Chapter 4. Mystery and CraftsmanshipThe Mystery of Creation; What Is Music?; Birth, Death, and Resurrection of Music; In Search of Myself: How to Listen to Contemporary Music; My Way; A Dilated Present; Studying Music Today?; A Sophisticated Balance between the Predictable and the Unforeseeable; Digressions; Cinema's Transformations; Timbre, Sound, and Performers; On Teaching; High Productivity? A Healthy Mind in a Healthy Body; Chapter 5. An Absolute Music?; The Roots; A Short Introduction to the "Absolute"; Darmstadt: A Summer of Experiments; Gruppo d'Improvvisazione Nuova Consonanza A Response to the Conflict of Times: Toward "Dynamic Immobility"Suoni per Dino; Vidi Aquam. Id Est Benacum; Musical Creationism versus Musical Evolutionism; Gestazione; Beliefs: The Origins of Life and the Universe; Mystical Production; Missa Papae Francisci; The Ideal of Unity: Blend and Hope; The Mission; Voci dal silenzio and La voce dei sommersi; Cantata per l'Europa and a Poem for Maria; Exchanges, Form, and Linguistic Combinations; UT; The Four Concertos: Form and Non-form; The Future of Music: Noise and Silence; Chapter 6. Looking Ahead: A Silent Nod toward the Future Morricone, Ennio Interviews Morricone, Ennio 1928-2020 (DE-588)119011328 gnd Composers Italy Interviews Film composers Italy Interviews Motion picture music History and criticism Filmmusik (DE-588)4017129-2 gnd Musikanschauung (DE-588)4170810-6 gnd |
| subject_GND | (DE-588)119011328 (DE-588)4017129-2 (DE-588)4170810-6 (DE-588)4027503-6 |
| title | Ennio Morricone in his own words |
| title_alt | Inseguendo quel suono (2016) |
| title_auth | Ennio Morricone in his own words |
| title_exact_search | Ennio Morricone in his own words |
| title_full | Ennio Morricone in his own words Ennio Morricone in conversation with Alessandro De Rosa ; translated from the Italian by Maurizio Corbella |
| title_fullStr | Ennio Morricone in his own words Ennio Morricone in conversation with Alessandro De Rosa ; translated from the Italian by Maurizio Corbella |
| title_full_unstemmed | Ennio Morricone in his own words Ennio Morricone in conversation with Alessandro De Rosa ; translated from the Italian by Maurizio Corbella |
| title_short | Ennio Morricone |
| title_sort | ennio morricone in his own words |
| title_sub | in his own words |
| topic | Morricone, Ennio Interviews Morricone, Ennio 1928-2020 (DE-588)119011328 gnd Composers Italy Interviews Film composers Italy Interviews Motion picture music History and criticism Filmmusik (DE-588)4017129-2 gnd Musikanschauung (DE-588)4170810-6 gnd |
| topic_facet | Morricone, Ennio Interviews Morricone, Ennio 1928-2020 Composers Italy Interviews Film composers Italy Interviews Motion picture music History and criticism Filmmusik Musikanschauung Interview |
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